Everyone knows Smokey Bear, Woodsy Owl, and maybe even Ranger Rick Raccoon, but there are many other forest and forestry-related fictional characters that long ago fell by the wayside. Peeling Back the Bark‘s series on “Forgotten Characters from Forest History” continues with Part 18, in which we examine Rusty Scrapiron.

This year marks the 75th anniversary of Keep Oregon Green, a statewide fire prevention program formed in May 1941 by Oregon Governor Charles Sprague and 250 state leaders who sought to replicate a similar program started in Washington the previous year. The purpose of Keep Oregon Green was to get the general public to embrace forest fire prevention, and in the decades that followed a massive publicity effort blanketed the state. One key component of the Keep Green campaign was the artwork found on posters, illustrations in various publications, and other promotional items. In Oregon, the artist behind much of this was Hugh Hayes.

A 1949 Keep Oregon Green cartoon by Hugh Hayes.

Hugh John Hayes Jr. dedicated his life’s work to Oregon’s forests. He worked with the Civilian Conservation Corps in eastern Oregon after high school, and then as a draftsman with the Oregon State Board of Forestry in Salem. Following service with the U.S. Army during World War II he worked for the Oregon State Department of Forestry from 1945 until his retirement in 1976. Throughout his long career Hayes drew countless illustrations, cartoons, maps, posters, architectural plans, field guides, and much more.

Hugh Hayes cartoon for The Forest Log from January 1948.

During the 1940s and 1950s, Hayes provided regular illustrations for The Forest Log, a monthly publication of the Oregon State Board of Forestry. Most of his illustrations for The Forest Log had a Keep Oregon Green tie-in or other general fire prevention message. In the May 1950 issue he debuted a new character: “Rusty Scrapiron.” Rusty made his entrance to the world in the final panel of Hayes’s May 1950 strip, literally being pulled into the frame by a reckless smoker who had unknowingly started a forest fire.

Final panel of Rusty Scrapiron debut comic, May 1950 (click image to view full strip).

The strip appeared monthly for nearly two years in The Forest Log, ending its run in March 1952 for unknown reasons. But Hayes’s work continued. He still provided periodic illustrations for The Forest Log and his influence over fire prevention efforts in the state endured for decades. Hayes is probably best known for the Keep Oregon Green place mat he created in 1959. This detailed, illustrated map documenting the history and culture of Oregon was widely distributed for use in restaurants throughout the state. Following his initial “retirement” in 1976, Hayes continued to do contract work for the Department of Forestry through 1993, including an illustration for the department’s 75th anniversary featured on the cover of Forest Log in 1986 (the inside cover included a photo of Hayes at work and a brief look back at his career).

Hayes passed away in 2013 at the age of 98, but his legacy lives on with the still active Keep Oregon Green organization. His Rusty Scrapiron creation – like other forgotten forestry characters – lives on here at the Forest History Society. Below are some of our favorite Rusty Scrapiron classic comic strips.

Everyone knows Smokey Bear, Woodsy Owl, and maybe even Ranger Rick Raccoon, but there are many other forest and forestry-related fictional characters that long ago fell by the wayside. Peeling Back the Bark‘s series on “Forgotten Characters from Forest History” continues with Part 17, in which we examine Turp and Tine.

The annals of classic cartoon duos are packed with famous forest-dwelling characters who worked together such as Rocky and Bullwinkle, Chip ‘n’ Dale, Yogi and Boo Boo, and many others. Venture deep enough into the recesses of cartoon history and you’ll also find the classic forgotten forest history character duo of Turp and Tine.

Who were these simple painters who transformed an industry? Well the story of Turp and Tine has its beginnings over a century ago with the Hercules Powder Company. A division of DuPont, Hercules became an independent company in 1912 after a federal court ordered DuPont broken up for violating the Sherman Anti-Trust Act. As an independent, Hercules continued its growth in the explosives market, supplying construction firms and the military with gunpowder, dynamite, and blasting powder. As of 1919, 99% of the company’s revenue came from sales of these various explosives.

Looking for diversification and new opportunities, the company expanded in 1920 into the world of naval stores (products derived from pine tree sap). Hercules bought the rights to pull pine stumps on large expanses of cut-over lands throughout the South, while also investing in research and technology to develop products from wood rosin. Soon the company was manufacturing steam-distilled wood turpentine from these stumps on a massive scale. This was contrary to the prevailing gum turpentine cut from living pine trees, which dominated the market at this time.

As a new kind of turpentine, Hercules needed to get the message out as to why their turpentine product was better (or at least as good) as the existing gum turpentine on the market. Enter Turp and Tine. The cartoon duo was created to help educate the public on the steam-distilling process as well as promote the Hercules brand. In the early to mid-1920s Turp and Tine promotional materials, advertisements, and even animated films began to appear nationwide. A Hercules advertising manager of the time described the creation and success of the Turp and Tine characters:

When we prepared this picture two years ago, we were faced with the problem of educating the users of turpentine to the fact that steam-distilled wood turpentine is a genuine spirits of turpentine and just as satisfactory for their work as the gum spirits of turpentine, which prior to a few years ago, was the only kind available. We had to get our story across not only to painters but also to distributors, jobbers and dealers through whom turpentine reaches the ultimate consumer. There was the usual prejudice against a product differing from that which had been the standard for many years, and our salesmen found it very difficult to tell the story with words only. In our picture we made use of animation to portray two painters “Turp” and “Tine” who appear in our advertising. The introduction of humor into the picture helped to secure the interest of the spectators in the educational features, which included a complete description of the methods of producing both gum and wood turpentine and an animated mechanical diagram of the processes followed in our plants … We have ample evidence in our file that the motion picture was one of the most effective means we employed in accomplishing our objective. Our sales of turpentine have now increased to the point where our present manufacturing facilities are insufficient to supply the demand.*

The characters themselves were designed and drawn by artist Archibald B. Chapin (1875-1962). Chapin was a successful newspaper political cartoonist in the first half of the twentieth century, working for publications in Kansas City, St. Louis, and Philadelphia. He also penned comic strips such as Home Sweet Home, Uncle Dudley, and Superstitious Sue. A Hercules promotional publication circa 1930 stated: “Turp and Tine … sprang full-grown from the ink bottle of A.B. Chapin, who is one of the foremost cartoonists in this country. Since their appearance, Turp and Tine have made a host of friends, because they are likeable chaps; their antics make people laugh, while the lessons they teach are well worth knowing.”

With Turp and Tine leading the way the Hercules Company continued to grow throughout the 1920s and 1930s. At the time of America’s entrance into World War II, Hercules was the country’s largest producer of naval stores. Turp and Tine would ultimately fade into oblivion, though, as the naval stores industry declined and Hercules expanded into production of other chemicals as well as aerospace equipment and fuels. But like all forgotten forest history characters they continue to live on here at FHS.

*Klein, Julius “What Are Motion Pictures Doing for Industry?” The Annals of the American Academy of Political and Social Science 128 (November 1926): 79-83.

Turp and Tine show how Hercules steam-distilled wood turpentine is produced (click to enlarge).

Turp and Tine show how Hercules turpentine is distilled from pine wood chips (click to enlarge).

Everyone knows Smokey Bear, Woodsy Owl, and maybe even Ranger Rick Raccoon, but there are many other forest and forestry-related fictional characters that long ago fell by the wayside. Peeling Back the Bark‘s series on “Forgotten Characters from Forest History” continues with Part 16, in which we examine Tim Burr.

In July 1949 the Weyerhaeuser Timber Company debuted the first issue of its new company-wide magazine. Weyerhaeuser Magazine was targeted to company employees and featured company news across the various branches, as well as features on Weyerhaeuser employees both on the job and away from work. The inaugural issue of the magazine also introduced to the world a brilliantly-named character: Mr. Tim Burr.

Tim’s purpose was to promote workplace safety, similar to previously profiled characters like Herman I. Cautious and Paula Bunyan. But unlike Herman and Paula, who were committed examples of proper workplace behavior, Tim was a bit more of a daydreaming klutz. While a good-natured worker, Tim continually ran into trouble while on the job.

The brief item announcing his introduction in Weyerhaeuser Magazine describes him as follows: “It’s not that he isn’t a good worker—he is. The unfortunate thing about Tim is that he’s a dope when it comes to safety.”

In his first appearance, Tim falls down the stairs at work while dreaming of an upcoming vacation. In subsequent appearances he gets stuck in sawmill machinery, runs into trouble while self-administering first aid, forgets to wear a gas mask at an inopportune moment, and gets hit by a falling tree. The five-panel Tim Burr comic strips always ended with Tim either in the infirmary or covered in bandages (usually both).

The Tim Burr comics were drawn by artist Jack Keeler, who spent much of his early career in the Pacific Northwest. Thanks to some information provided by Keeler’s grand-nephew we now know a lot more about the artist’s life and work.

Keeler was born in Wyoming in 1923 but moved with his family a few years later to Everett, Washington. In the early 1940s he attended the Cornish College of the Arts in Seattle. Following service in World War II, Keeler went to work as a comic artist. His work appeared alongside icons such as Stan Lee and Jack Kirby in various 1940s comics (Keeler created characters such as Soapy Sam, Junior Genius, and the Rosebud Sisters).

During the time of Tim Burr, Keeler was working for an advertising agency in Tacoma, Washington. In 1950 he moved to Los Angeles and then later to New York where he achieved great success in the advertising industry. One of the original “Mad Men,” Keeler was the creative genius behind Folgers Coffee campaigns in the 1960s, and also did work for the 1967 Chevy Camaro, Western Airlines, Heinz Ketchup, and many other brands.

As for Tim Burr, his career proved to be much, much shorter. After taking a physical beating for a year, Tim made his final appearance in the May 1950 issue of Weyerhaeuser Magazine (we assume this coincides with Keeler’s departure from the Tacoma area). In the following issue (August 1950) a new safety character was introduced (stay tuned!), drawn by a new artist. A short item stated: “Tim Burr has retired to a well-deserved rest.”

Like all our Forgotten Characters, though, Tim continues to live on here in the Forest History Society Library and Archives. Continue below for more classic Tim Burr comics drawn by Jack Keeler.

Everyone knows Smokey Bear, Woodsy Owl, and maybe even Ranger Rick Raccoon, but there are many other forest and forestry-related fictional characters that long ago fell by the wayside. Peeling Back the Bark‘s series on “Forgotten Characters from Forest History” continues with Part 15, in which we examine Joe Beaver.

Before there was a Smokey Bear or a Woodsy Owl, the U.S. Forest Service had another animal preaching the messages of forest conservation and fire prevention: Joe Beaver. Joe (an actual beaver, not the 8-time world champion cowboy) was the creation of legendary cartoonist Ed Nofziger, who worked for the Forest Service during World War II before moving on to the large animation studios of his day. The story of Joe Beaver’s creation is intertwined with Nofziger’s divergent career path into the world of forestry.

Ed Nofziger was born in 1913 and raised in California, graduating with an art degree from UCLA in 1936. His work as a cartoonist soon took him to New York, where he became a regular contributor to the Saturday Evening Post and other publications. The outbreak of World War II altered his career path, though, bringing him renown he might otherwise have never attained.

As a member of the pacifist Church of the Brethren, Nofziger was a conscientious objector during the war. When conscripted in 1943 he was assigned to the Forest Service as an alternative to military duty. Nofziger was first sent to a Forest Service station in Cooperstown, New York. Despite having no previous forestry experience (other than being the son of a West Coast lumberman), he took to the work and soon put his own unique skills to good use. Nofziger came up with the idea for Joe Beaver as a way to combine humor with a message of forest conservation.

The Joe Beaver cartoon first appeared in The Otsego Forest Cooperator, a publication of the Otsego Forest Products Cooperative Association in Cooperstown. The character was successfully received, and the Forest Service decided to promote the cartoon on a national level. In 1945 Nofziger was transferred to the USFS office in Philadelphia as Joe Beaver’s audience continued to grow. The Forest Service distributed the comic to lumber and trade journals and other publications throughout the country.

Dr. Hardy L. Shirley, the director of the Northeastern Forest Experiment Station for whom Nofziger worked in Philadelphia, described Joe Beaver as “a practical woodsman who is part philosopher, part forester and part hard-headed business man.”

Besides speaking, though, Joe Beaver didn’t take on other human characteristics like similar animal characters. Joe never wore clothes or a hard hat, for example (a la Benny Beaver and others). He was presented as a regular beaver living in the forest, dedicated to spreading the message of conservation.

Nofziger and the Joe Beaver character continued to get more publicity as the cartoon spread nationwide. The overseas service edition of Life magazine in August 1945 featured Joe Beaver cartoons in the “Speaking of Pictures” section. Life had this to say about Joe: “His toothy grin is not that of a clown; it comes, rather, from the bustling good spirits of someone trying to get a job done and done well. Joe is smart, practical and has the native pride of a skilled craftsman. Despite the sarcastic spoofing of his slow-witted beaver pals, Lumberman Joe feels a deep sense of responsibility and concern for their welfare, their sometimes crude work methods and, above all, for America’s forests.”

Feature articles on Nofziger and Joe also appeared in the New York Herald Tribune (September 9, 1945) and the Long Island Star-Journal (January 10, 1946), the latter of which declared: “A man who never studied a stump of forestry in his life, Nofziger is making the experts in timber conservation all over the country sit up and take notice–and all with the air of one who feels he hasn’t done enough.”

Despite this success, Nofziger never received any extra income for the Joe Beaver character, who was officially owned by the Forest Service. This didn’t bother him. “Joe is trying to do a service for the people of this country and better forestry,” Nofziger stated in an interview. “He does not contribute to my family income. He is a public service. He is given away free.”

While with the Forest Service, Nofziger also completed the short book Two Trees, created from hand-carved linoleum prints. This story of two trees named Ashton and Elmer provided a message to children of the importance of proper forest management.

Nofziger kept turning out Joe Beaver cartoons through the end of the 1940s. His career aspirations eventually led him back to California. He moved on from the Forest Service and into full time animation, working for UPA studios drawing “Mister Magoo” cartoons and later for Hanna-Barbera where he drew “Ruff and Ready” and other characters. (While at Hanna-Barbera he may have been involved with the Sniff and Snuff characters, but we don’t have confirmation of that.)

Nofziger passed away on October 16, 2000. In his obituary published in the Los Angeles Times, fellow artist Roger Armstrong praised him as one of “the finest cartoonist of animals in the last half-century.”

Continue after the jump below for a small selection of classic Joe Beaver cartoons. (more…)

Everyone knows Smokey Bear, Woodsy Owl, and maybe even Ranger Rick Raccoon, but there are many other forest and forestry-related fictional characters that long ago fell by the wayside. Peeling Back the Bark‘s series on “Forgotten Characters from Forest History” continues with Part 14, in which we examine Abel Woodman.

“A Character is Coming to Crossett.”

This was the headline on a small announcement item greeting scrupulous readers of the December 1947 issue of Forest Echoes. As our faithful Peeling Back the Barkers know, Forest Echoes was the popular local monthly magazine published by the Crossett Lumber Company of Crossett, Arkansas, between 1939 and 1962. But who was this new character being teased in the magazine’s final issue of 1947? Curious readers were assured of an answer in the new year: “Don’t miss next month’s Forest Echoes, you owe it to yourself to meet this character.”

As promised, the mysterious new character made his debut in the January 1948 issue. Found in a one-panel comic in the back of the magazine was a well-built man with beady eyes, smoking a pipe and holding a large axe. The man was dressed in traditional lumberjack garb (boots, suspenders, flannel shirt) and there was no doubt about his location—a large Crossett smokestack was visible in the background.

First-ever appearance of the man who would become Abel Woodman, January 1948 (click to enlarge).

The only problem was he had no name. To rectify this, the Forest Echoes editorial staff created a contest, inviting readers to submit their name ideas for the new character. As seen under the cartoon above, the best entry would win a $25 U.S. Savings Bond (side note: The “I ain’t Mr. Hush…” comment references a famed 1946 contest on the Truth or Consequences radio game show, where host Ralph Edwards phoned random people and asked them to identify a mystery voice known only as “Mr. Hush”).

The following month a winner was announced. Thanks to the entry of William “Bill” Preston Haisty, the new character was officially christened “Abel Woodman.”

Abel remained a permanent fixture on the inside back cover until the final issue of Forest Echoes in June 1962 (the year Georgia-Pacific purchased the Crossett Lumber Company). For this fourteen-year run, the Abel comic was drawn by artist Lee Davis. In his final year Davis found a way to put himself in the action alongside Abel.

Davis did get help from the public along the way. In 1958 Forest Echoes held a “Cartoon Editor” contest, inviting the public to submit “a situation and appropriate remark for an Abel Woodman cartoon.” Ten winners won $10 each and had their cartoon ideas drawn by Davis and printed. The first winning entry (from Lloyd Gardner) was published in March 1958, and is notable in that it foresaw “Moon Trees” a good thirteen years ahead of Stuart Roosa’s journey into space.

The final Abel Woodman cartoon ran in the last issue of Forest Echoes in June of 1962. His glory years seemingly already behind him, Abel had been reduced to company shill—touting the benefits of charcoal made by the Crossett Chemical Company. Despite this inauspicious end, Abel Woodman lives on in Crossett. In 2002 an “Abel Woodman” statue was erected in a small park in the middle of town. The original Abel Woodman also lives on here at FHS in our collection of Forest Echoes magazines, and our other materials documenting the history of the company town of Crossett, Arkansas.

Everyone knows Smokey Bear, Woodsy Owl, and maybe even Ranger Rick Raccoon, but there are many other forest and forestry-related fictional characters that long ago fell by the wayside. Peeling Back the Bark‘s series on “Forgotten Characters from Forest History” continues with Part 13, in which we examine Herman I. Cautious and Paula Bunyan.

The first week of May marks the annual occurrence of North American Occupational Safety and Health Week. Sponsored by the American Society of Safety Engineers (ASSE), the Canadian Society of Safety Engineering (CSSE), and the Occupational Safety and Health Administration (OSHA), NAOSH Week is intended to raise awareness about occupational safety, health and the environment. In honor of NAOSH week, and in the spirit of workplace safety, Peeling Back the Bark brings you not one, but two new forgotten characters of forest history.

In early 1960, the Pacific Plywood Company of Dillard, Oregon, launched an innovative new safety program. Under the slogan “Caution Pays You,” the new program awarded employees for eliminating workplace accidents. Accident-free years would bring cash awards, based on money collected from monthly contributions into a Safety Dividend Account plan. To help launch this new safety program, a promotional character was introduced: Herman I. (Izzy) Cautious.

While his name was a basic play on a safety question (“her man, is he cautious?”), there was no doubt about Herman’s commitment to workplace health. Always safely decked out in hardhat and gloves, Herman appeared on posters and signs around the plant to raise awareness for the program. His image was accompanied by the “Caution Pays You” slogan, which was trademarked in 1960.

The idea to use monetary rewards to reduce accidents came from Pacific Plywood Company’s Safety Director Bob Young. He and others at the company had big plans for the program. An article in the May 1960 issue of The Lumberman stated, “Considerable interest has been shown in the plan by outside industries, and many inquiries have been made about its operation even before it has been started.” It’s unknown how much interest was shown in the Herman Cautious character, though. He was used on company safety awards for a short time, but then appeared to quickly vanish from the public eye.

Herman Cautious wasn’t the only hardhat-wearing forest-related safety character to fade from view in the early 1960s. The U.S. Forest Service has a forgotten safety character of its own: Paula Bunyan. Paula, drawn by legendary Forest Service artist Rudy Wendelin, was presented as the “Guardian of Safety” for the agency.

We’ll let the official backstory on Paula speak for itself: “She is the daughter of Paul Bunyan, the legendary, swashbuckling, and sometimes unsafe north woods hero. Being a woman, Paula knew how to get her message across to her father and converted him to a safety conscious individual without impairing his tremendous production. This spread his fame all the more. We feel the modern day forester is susceptible to the wiles of such a safety symbol.”

Everyone knows Smokey Bear, Woodsy Owl, and maybe even Ranger Rick Raccoon, but there are many other forest and forestry-related fictional characters that long ago fell by the wayside. Peeling Back the Bark‘s series on “Forgotten Characters from Forest History” continues with Part 12, in which we examine Benny Beaver.

Although Benny Beaver is back in the news, don’t be confused. The one making news is Oregon State University’s mascot, and that’s because he’s been redesigned. Again. The Benny Beaver beloved by forest history buffs was the mascot for the Redwood Region Conservation Council (RRCC).

The RRCC was a forest products industry group in the Redwood-Douglas fir region of California that sought to inform the public about the necessity of conserving the area’s natural resources, in particular commercial timber, and the importance of doing so for the benefit of all. The RRCC was involved in certifying forests for the American Tree Farm System and already employed Woody and the Keep Green program to get the word out about fire prevention when Benny was introduced.

What makes this character stand apart from all those is that his creators went to the trouble of formulating a backstory for him. Benny was introduced in the summer of 1965 (we don’t know when they stopped using him). In the introduction below, besides learning about Benny’s extended family and ancestors, they even implied that he was OSU’s Benny Beaver—hence the reference to being mauled by a wolverine (in 1965’s Rose Bowl, the University of Michigan handily defeated OSU.) And when Benny was introduced, Bernard Z. Agrons was RRCC’s president, so we think that’s where the name of Benny’s great uncle came from. Anyway, his creators did such an entertaining job on the backstory that I’m going to let the announcement of Benny’s “hiring” do the talking.

Benjamin “Benny” Beaver—faller, bucker, dam-builder and member of the world-famed lumbering family—has joined the Redwood Region Conservation Council as its supervisor of forest activities.

Benny applied to RRCC headquarters for work following a six-month period of convalescence.

Last January 1 while inspecting the culinary qualities of the wood structures which support Pasadena’s Rose Bowl, he was seriously mauled by a curmudgeonly wolverine. Seems the wolverine had left his home in Michigan for a trip to Disneyland and had stopped off in Pasadena for some mild exercise. A beaver with a football was all he could find to tussle with.

Healed, Benny headed back to his familiar forest where, he says, the most dangerous creatures are 21-year-old loggers on Saturday night and a funny old bear who wears a silly hat.

Benny’s first assignment will be to work with that bear—Smokey they call him—in an effort to keep the Redwood Region green. But being a charter member of the “hard-hat-on-head, we’re-not-dead” club, Benny indicated he would try to talk Smokey out of wearing his felt campaign hat.

“Widow-makers,” he warned, “can drive you into the deck like a wicket.”

Well known as an industrious woods worker, Benny has numerous qualifications for his job in forest conservation.

His great-great-great granddaddy pioneered the technique of selective logging, and early lumberjacks copied Benny’s great uncle Bernard Z. Beaver’s method of getting logs from the forest to the mill by river floating.

As a matter of fact, Benny’s cousins still excavate canals—some several hundred feet long—to float wood for life’s necessities into their communities. Their dams are engineered perfectly to keep the water in the canals at a proper depth….

The announcement concluded: “RRCC hopes the Redwood Region will welcome Benny Beaver. We expect him to fight wildfire, prevent litter-bugging and help us tell the public that conservation means the wise and multiple use of our natural resources.”

That last statement reveals the stumbling block to success that so many forest history characters trip over: they are given too many things to simultaneously to represent and it confuses the target audience. Is Benny about fire prevention? Stopping litter bugs? Wise and multiple use? Aren’t the first two really just part of the third? This problem of a muddled message is why the Forest Service later created Woodsy Owl—people were trying to use Smokey Bear to talk about litter and other issues and it diluted the power of Smokey’s message. Further complicating Benny’s path to stardom was the introduction of Cal Green and Sniff and Snuffin California the same year Benny was introduced. How’s a beaver in cut-off overalls supposed to compete against charismatic Cal and the sartorial splendor of Sniff and Snuff? As Benny might say, dam if I know.